{"id":1202885,"date":"2026-02-19T19:45:51","date_gmt":"2026-02-19T19:45:51","guid":{"rendered":"https:\/\/www.polygon.com\/?p=599459"},"modified":"2026-02-19T19:45:52","modified_gmt":"2026-02-19T19:45:52","slug":"i-was-so-tired-behind-clair-obscur-expedition-33s-beloved-whee-whoo-scene","status":"publish","type":"post","link":"https:\/\/arcader.org\/news\/i-was-so-tired-behind-clair-obscur-expedition-33s-beloved-whee-whoo-scene\/","title":{"rendered":"\u2018I was so tired\u2019: Behind Clair Obscur: Expedition 33\u2019s beloved \u2018whee whoo\u2019 scene"},"content":{"rendered":"
\"Verso
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Clair Obscur: Expedition 33<\/em> writer Jennifer Svedberg-Yen<\/a> would be the first to tell you: writing a video game is work<\/em>.<\/p>\n

At least writing a novel is a one-person operation for most of the time. At least a screenplay for a film only needs to come in around 120 pages, unless you\u2019re working for Martin Scorsese. But writing a video game? That means filling hours of space, bending the material to fit the play, and usually working with a team of other writers to make it all cohere. Sometimes to hit a deadline, you just need to throw words at the wall. Especially when it\u2019s 3 a.m. That can still result in brilliance.<\/p>\n

All the Frenchy bits and bobs in Clair Obscur<\/em> have captured the imaginations of players, but few quite like the character of Esquie, and especially one camp conversation in which the oversized gestral<\/a> reflects on his friend Fran\u00e7ois with Verso. Verso knows Fran\u00e7ois to be a grump, but Esquie insists that “Franfran used to be all \u2018Wheeee!\u2019 But now he’s all \u2018Whooo.\u2019\u201d Over about a minute, Esquie further defines \u201cwhee\u201d and \u201cwoo\u201d while players even choose their own whee\/woo path through the dialogue tree. It is tremendously silly.<\/p>\n

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